tion of the works is clearly thought through: no stray boots, no T.V. remote. The conversation is between you and this vigorous work. The removal of information in the presentation The of inherent the works depth is clearly of the thought glazed through: surface on no many stray of boots, the works no T.V. brings remote. layers The of conversation light is between refraction you that and highlight this vigorous fissures, work. im- speckle and purities and tonal variation. Mineral spikes bubble The inherent from two depth 36 inch of the high glazed ceramic surface forms on many of the works brings layers of speckle and by Graham Marks (constructed by Beth Blahut) in the living room; a soaked textile piece light refraction that highlight fissures, impurities and tonal variation. Mineral spikes bubble made from of two clumps 36 inch of high dried ceramic bread forms dough by wrapped Graham in Marks textile (constructed with strings by falling Beth Blahut) from the in orbs the living sits in room; front a of soaked a mirrored textile corner, piece made the of work clumps looks of as dried though bread it has dough been wrapped dredged in textile from with a swamp; strings behind falling the from couch the orbs is an sits inflated front ceramic of a mirrored form by corner, Betty Woodman the work looks that is as the though shape it of has a Saint been Bernard’s dredged rescue from a swamp; canteen; behind the tightness the couch of is the an drum inflated form ceramic is interrupted form by Betty by layered Woodman drips that that is the shape of a Saint Bernard’s rescue canteen; become blobs of glossy grass green and rust the tightness of the drum form is interrupted by with an exposed grid of raw porcelain peeking layered drips that become blobs of glossy grass through. green and A Kevin rust with Beasley an exposed acrylic grid disc of is raw stuffed porcelain street peeking soot and through. then A drowned Kevin Beasley in plastic, acrylic a with sort disc of is vessel stuffed as with jailer street instead soot and of then cradle, drowned yet in in conversation plastic, a sort with of vessel historical as vessel/cylinder jailer instead of forms. cradle, Though yet in conversation we have become with historical immune vessel/cylinder hysterical forms. digital Though chaos we that have is on become the morn- im- to the ing mune news to and the hysterical commercials, digital moving chaos that between is on smooth the morning sober news surfaces and commercials, to injurious spikes, moving tween between wood smooth potter sober browns surfaces and to injurious hysterical spikes, pink between wood potter browns and hysterical pink puff at the Mast’s home makes texture and puff at the Mast’s home makes texture and variety variety exhilarating exhilarating again. again. It It evokes evokes incidents incidents and and snippets snippets of of experience, the the ity ity of of making, and and thought becomes physical- tangible. vealing. This collection says things that the Masts may or may not wish for us to understand, there is a viscera, a daring, a fertility 16 Like to the making forms art, with being drips taken of hot by art color is revealing. amid moss This tones collection that, after says listening things that to the Tim Masts speak, may reveal may a not yearning wish for for us the to understand, making of there art, for is a the or viscera, experience a daring, of a touching. fertility the The forms collecting with drips urge of seems hot color simultaneously amid moss tones that, invoke, after satisfy, listening yet to frustrate Tim speak, this reveal compulsion. a yearning In for other making words, of revealing it as desire in the strongest sense. art, for the experience of touching. The collecting urge seems simultaneously to invoke, satisfy, yet frustrate this compulsion. In other words, revealing For Marilyn, it as desire the collecting in the strongest process sense. presents For Marilyn, an initial the intuitive collecting response process followed presents by an an initialytical intuitive weighing response of art followed acquisition by an against analytical other ana- weighing possibilities. of art acquisition This evaluative against process other possibilities. sense This if you evaluative know Marilyn’s process makes patient sense and if dis- makes you cerning know nature, Marilyn’s but patient the couple and can discerning also be naturegerously but the spontaneous. couple can They also be see dangerously it, they like it, dan- spontaneous. they acquire They it. But see this it, is they after like much it, they general acquire it. But this is after much general study in study in the field as is evident in their library the field as is evident in their library and Marilyn and Marilyn who, now in retirement, can read who, now in retirement, can read seven books in seven a week books and in still a week make and it to still three make or four it to art three events. or four Though art events. their Though library is their deep, library Tim shared is deep, with Tim me shared the three with seminal me the texts three that solidified seminal his texts passion that solidified for the world his passion of ceramics: for the American world Pottersramics: The American Work of Twenty Potters: Modern The Work Masters, of Twenty by of ce- Garth Modern Clark; Masters, A Century by of Garth Ceramics Clark; in the A United Century States of Ceramics 1878-1978, in the by United Garth Clark States1878-1978, and Margie Hughto; by Garth and Clark Objects: and Margie USA: Works Hughto; by and Artist- Objects: USA: Craftsmen in Works Ceramic, by Enamel, Artist-Craftsmen Glass, Metal, in Ceramic, Enamel, Glass, Metal, Plastic, Mosaic, Plastic, Mosaic, Wood, and Fiber, by Lee Nordness. Flipping through the plates of these books, one Wood, sees and corresponding Fiber, by Lee pieces Nordness. and style markers through on the the wall, plates floor and of these side table. books, The one collec- sees Flipping tion corresponding is studied but pieces fresh, having and style obvious markers spur of on the moment wall, floor game and changing side table. acquisitions. The collection In addition studied to these but fresh, key texts having were obvious later pivotal spur works of the is they moment saw game and felt changing compelled acquisitions. to acquire, In and addition allow to these time key to catch texts up were to the later work pivotal through works then contemplation, they saw and looking, felt compelled and further to acquire, research. and then allow time to catch up to the work through contemplation, looking, and further research. Kevin Beasley, Beaseley, In Case “In Case Your Your Parts..., Parts...”, 6x11x11, 6x11x11, 2010; dirt, 2010; tar, dirt, t sticks and cast acrylic.
- y s - - s 17 Marcia Marcia Polenberg, Polenberg, “William “William Morris”, Morris”, 18x19x12, 18x19x12, rcia Marcia Polenberg, Marcia Polenberg, William Morris, and Aweigh, 1995; bread and fiber. 2012. Marcia Polenberg, “William Morris”, 18x19x12, 2012. 2012. Polenberg, “William “William Morris”, Morris”, 18x19x12, 18x19x12, Beth Beth Beth 2012. Blahut, Blahut, “Up and “Up “Up and and Aweigh”, Aweigh”, 14x18x18, 14x18x18, 1995; 1995; bread 1995; bread and bread fiber. and and fiber. fiber. 12. 2012. Beth Beth Blahut, Blahut, “Up and “Up Aweigh”, and Aweigh”, 14x18x18, 14x18x18, 1995; 1995; bread bread and fiber. and fiber. 2012. Beth Blahut, “Up and Aweigh”, 14x18x18, 1995; bread and fiber. - t - . s - Betty Betty Betty Betty Woodman, Woodman, “Pillow “Pillow Betty Woodman, “Pillow Vase”, Vase, Vase”, 15x24x13, Vase”, 15x24x13, 15x24x13, 1980. 1980. tty Woodman, “Pillow Vase”, 15x24x13, 1980. 1980. 1980. 1980. r Betty Woodman, “Pillow Vase”, 15x24x13, 1980. s - - , l y , s - y y , - - Marilyn Marilyn Mast Mast Mast Paul Paul Paul Marilyn Mast Paul Kotula, Kotula, Kotula, Untitled, Untitled, Untitled, each each approx. each each approx. approx. 11x15x2, 11x15x2, 11x15x2, 1988-1992. rilyn Mast Paul Kotula, Untitled, each approx. 11x15x2, 1988-1992. 1988-1992. 1988-1992. , Marilyn Marilyn Mast Mast Paul Paul Kotula, Kotula, Untitled, Untitled, each each approx. approx. 11x15x2, 11x15x2, 1988-1992. 1988-1992. s s . irt, r, dirt, r, tar, tar, tar,
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